That last Tron bit is a typical example of something that's always annoyed the hell out of me about Morrison's Batman work. He throws in dialogue that would be better suited to big, grand, clean, fun comics akin to Batman: The Brave and the Bold, but he does it in stories which are set in the regular DCU where a character can be lying in the street, stabbed in the gut and coughing up blood. It's always felt jarring and annoying to me. Anyone else feel the same way?

Thats what I love. Big goofy ideas in world where bad things happen. My problem with the "clean" comics is I never feel real emotion or need. My problem with gritty is they gave up ideas and fighting the good fight. Its why I love Morrison, crazy ideas and fighting the good fight, in an actual fight.

I agree, but I also think it helps the comic. Is his talent kind of wasted here? Yes. But his dialogue helps even out what could be a much darker story. It doesn't feel out of place, and just adds some levity to scenes so they can balance out the heaviness. Marvel should do more like that.

I think that last panel is sort-of Morrison's cheat to have something like those melodramatic covers back in the 70s and such.

And personally, I think the grand dialogue and ideas mixed in with real character, emotion, and consequences is sort-of like peanut butter and jelly--two great things that mix well together, especially for stuff like super-hero comics.

Well, there is a bit of that mind control/slavery stuff that has a lot in common with Final Crisis, but in The Return, where Leviathan was first introduced, the script session we see has Morrison say that Leviathan is sort-of his way of giving Batman his own version of Cobra to fight.

Didn't even think of it that way. "Batman on a budget. The concept works. Guess you don't need millions. Oh, is that the time? Sorry, I have to go back to and inside of my future internet to solve a problem with my super high-tech Tron suit and computer genius friend."

I really love this--I remember really liking what little we saw of Man of Bats and Raven Red back during The Black Glove, but it was great giving them more of a focus.

The "Batman on a budget" stuff, seeing MOB and Raven interacting with their community was really sweet, especially when their people fought Black Elk down when MOB was in trouble. I also loved their relationship in general--it's sort-of like a more grounded version of Bruce's relationship with Dick when he was Raven's age, and they just had some great interaction (I had to laugh a bit when Bill was chastising Raven about not putting enough pressure on his wound in the middle of saying what he might have thought was his final words. If they announced an on-going about these two, I would buy it instantly.

One thing I did find funny...so, we find out that they operate on an Indian reservation in South Dakota. ...Sort-of makes me want to see them cross-over and fight this guy:

Is it wrong that I love the fact that he's got a giant wooden nickel (instead of the giant penny in the Batcave?) I can't tell if it's slightly racist or not, but then again I feel that way about all of the Man of Bats stuff...

I don't know if there's anything about that has has direct racial ties, but it does fit with the whole "Batman on a budget" thing.

Plus there's even more symatry with how Bruce operates, because in #6, the first scene has Bruce showing the press around Wayne Enterprises, and both Morrison and Burnham did different things to make that place sort-of a public Batcave.

I enjoyed the hell out of this issue. I was captivated by the scenes of reservation life -- especially poor Lucy and her baby, which easily could have been crass and voyeuristic in the wrong hands -- in ways no climactic space battle over Oa against Black Lanterns has matched. The plot was by-the-book, but the execution, especially the art, was excellent. I don't really care about Leviathan (yet?), but I admire the hell out of Man-of-Bats as depicted in this ish.

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